Word: seene
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Dates: during 1970-1979
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...clear cool day in 1926, a nine-year-old boy in short pants watched a Swallow biplane circle and land at his hometown airfield in Boise, Idaho. It was the first plane he had ever seen close up. It was also the start of the first permanent scheduled airline service in the U.S. More than half a century later, TIME'S Jerry Hannifin finally realized his childhood dream by flying a restored Swallow. He has logged 2,550 hours in the air as a pilot, flying planes that ranged from a J-3 Cub to the Air Force...
...1920s--the version that brought fame to Bela Lugosi (whom I saw play it here in Boston near the end of his life) and is now doing the same on Broadway for Frank Langella. Nor is it the later adaptation by Crane Johnson, which I have never seen...
After the police discovered the burglary, the store's owner, Harry Levinson, did little to help their investigation. Griped a detective on the case: "He was the most uncooperative victim I've ever seen." But Levinson happened to be acquainted with a prominent figure in a different sort of enforcement business, Big Tuna. Levinson complained, according to a police informant, about his misfortune. For reasons of his own, Big Tuna sympathized. An order soon went out from River Forest: return the swag. The gang reluctantly obeyed, handing over the loot to Accardo who, police and FBI officials believe, kept...
...result has been a rather low-pressure art that refuses to strum on the heartstrings. For convenience, Szarkowski divides the images in this show into "mirrors"?pictures that mean to describe the photographer's own sensibility?and "windows"?realist photos of fact, including the facts of photography seen as a system. In short, the romantic vs. the realist: but it is not a very strict dichotomy, as Szarkowski himself stresses. The typical photo in this show, mirror or window, is cool, low in narrative content, linguistically sophisticated, beautifully made and, by the conventions of photojournalism, not very arresting...
Szarkowski's show is not the last word on the state of American photography; in deed, some of his choices, no less than his uncompromisingly aesthetic position, will be a subject of harsh debate. But it deserves to be seen and seen again, for its emphasis on the apolitical, the uneventful, the odd, the dumb and the chancy is now a kind of official view with which photography itself must reckon...